The design was guided by principles at a high level of abstraction which leaves much room for user’s interpretation. Yet the series is executed as an usual everyday item which is seem very direct and simple when viewed in person. The border between reality and immateriality is blurred. It called for a design process guided by function and practicality which led to an exterior expression of the interplay between simple geometric forms and modern materials. The design is an embodiment of general vision of culture and modern industrial design, stated with clarity and simplicity using materials that are configured to express their own individual character. The project is a careful, logical practice searching for the most appropriate status of a design’s form, material use, finish and its overall ethos. The full comprehension of its content can only be understood when layering out in full.

The work that goes into making each LD 1.0 is a partially machine, partially craft process which results in each piece a fine individual work with subtle differences. The watch features a two-part lugged 39 mm stainless steel case with chamfered bezel in brushed finish, housing a pair of two individual 3-hand quartz Japan movements with the second hand removed from the right hand side clock face. The off white brass dial paired with greyish aluminum hands and layered indexes are entirely in matt paint finish. The linear, perpendicularly designed lugs hold an Argentinian made calf leather strap complimented by a sharp edged solid buckle at its end. The timepiece is made from surgical grade 316L stainless steel and measured 7.3 mm in depth giving a thin silhouette for practical daily dressing. All components that have been designed in house require tooling for manufacture. Water resistant 5 ATM; hardened crystal lens; available in stainless steel, IP gold and PVD black case. Two-year warranty.

"As if fully awakened, the two found each other like a dual-in-one jewel under the alternation of day and night, of the white and black series." - Kitmen Keung

Black and white are dual. In visual darkness we breathe, we hibernate and we see our inner world brightening up before eyes open for a vibrant palette. As in whole whiteness, black underlies and shades all palettes; as in whole blackness, white penetrates and stands amongst all palettes.

Black and white are also one. Deep in that irrepressible sensuality lies the desire for the other. The everlasting interplay of the two hints longing for the inseparable essence to be sought, an essence extended from the pure, invincible darkness. Amongst the earthen polychromatism, black remains undefined yet fully refined. Looking back at the universe timeline, black remains the origin prior to the dazzling birth of white. All reoccur but should be referred to black. Just as the theorem of chemical-based photography and its processes under which the black series was developed, the master negative images on camera films used for producing classic, white models at the earliest stage were reused and directly applied on the dial, hands and layered indexes of the black series. By converting the positive format back to its negative latent one, the descendant black models were bred from the classic ones under the same hue ancestry, resulting in a high level of gene correlation between both series.

These brown calf strap models were originally requested by a group of Kitmen Keung's private clients and the company finally decided to add them into the collection in response to those same wishes in the retail market.

The medium brown tones of these finely crafted Argentinian made straps give a light, informal touch to the design. The leather surface has an unusual delicate texture that the designer considered essential and the most appropriate material to complement this plain modern object. However, he restricted the use of brown calves to the two classic white models only.